Diana Thorneycroft

Doll Mouth (lipstick)

2005

My work emerges from research on memory and the remembrance of landscape, where vaporous atmospheres of evanescent recollections are illustrated. My work thus, contains ghostly and e...

Using photography and drawing, Diana Thorneycroft often explores the darker side of supposedly innocent or benign objects like dolls, toys and cartoon characters. Past series include...

My work emerges from research on memory and the remembrance of landscape, where vaporous atmospheres of evanescent recollections are illustrated. My work thus, contains ghostly and e...

Jakub Dolejš Text by James D. Campbell That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Jakub Dolejš Text by James D. Campbell That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Artist: Anne Turyn, American (1954 - ) Title: The World Is Not My Oyster Year: 1982 Medium: Photograph Size: 16 x 20 in. (40.64 x 50.8 cm) Frame Size: 27.5 x 32 inches

Massimo Listri Turkey Hagia Sophia, Istanbul, Turkey, 2018 40 x 47 inches 100 x 120 cm Edition of 5 47 x 59 inches 120 x 150 cm Edition of 5 71 x 88.5 ...

MASSIMO LISTRI Galleria Degli Uffizi, La Sala della Controriforma, Florence, Italy, 2018 Under Construction series Avalable sizes: 40 x 48 inches 100 x 120 cm Edition of 5 48 x 60...

Color photograph, 2007, signed, dated and numbered 3 of 25 on the reverse. 14 x 11 in. (sheet), 20 1/7 x 16 1/2 in. (frame). It appears to be signed Laura Cohen or Laura Cohn Taped t...

Black and white original photography by Cyrille Druart. Edition: I/VIII Dimensions: 112 x 200 cm Signed and Numbered Cyrille Druart is a French photograph and architect, a book a...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...